An hour at Croydon Parish church
Music for a summer’s evening Croydon Parish Church marathon
Friday 10th July 2009 9.30 p.m. to 10.30 p.m.
played by John Woodhouse ACertCM FGMS
Director of music St Andrew Coulsdon and President of Bromley and Croydon Organists Association
Prelude on “Aurelia” Father Andrew Moore (b.1954)
This prelude on the tune for “The church’s one foundation” was composed to mark John’s 50th birthday in 1996 and published by Mayhews in the book Consecration. The tune is in the right hand with a gentle accompaniment in the left hand. John has had many years of ecumenical involvement and so the hymn is an appropriate choice. Father Andrew is now a parish priest in Portsmouth.
Suite from “The Water Music” George Frederick Handel (1685-1759)
Introduction, Minuet, Air, Siciliana, Hornpipe, Aria, Bourree, Finale
What more suitable choice for a quiet evening than the well-loved music of Handel whose anniversary we mark this year?
2 Songs without words Felix Mendelssohn (1809-1847) arranged by John E.West
No. 6 Venetian Gondola song No. 9 in E major
These pieces for piano work well on the organ and like so much of Mendelssohn’s music are beautifully crafted and gentle on the ear. John much enjoyed visiting Mendelssohn’s home in Leipzig and seeing the memorial window in St Thomas’s church, Leipzig. He finds these Songs without words ideal music when he has had a tiring and stressful day in the library!
Triptych of the Holy Trinity John Harper (b.1947)
I look for the Lord my soul doth wait for Him (Psalm 130)
This work has 3 contrasting sections suggesting Father, Son and Holy Spirit. Section A uses diapason tone, section B flute and section C a chorus including a gentle reed. There are hints of the plainsong melodies Veni redemptor gentium for Christmas Eve and Beata nobis gaudia at Pentecost. John Harper was formerly Director General of the Royal School of Church Music.
Fantasy-Variations on a Northumbrian folk-song Arthur Milner (1894-1972)
These variations were composed in 1954. The plaintive air appears in the right hand and then in the left hand moving through modulation into the major to be followed by a pastoral episode on the flute. A solemn Adagio gives way to a joyful allegretto on a solo flute. The Vivace scherzando on 8 and 4 foot flutes suggests the sea. Quasi recitative gives way to a fugal passage gradually building and then receding so that the original melody can return and resolve into the major. This piece is played in tribute to that distinguished Northumbrian organ builder Andrew Scott.
Berceuse (sur les paroles classiques) Louis Vierne (1870-1937)
Vierne’s beautiful Berceuse is another restful piece. Vierne was blind and died on the organ stool.
Communion on the hymn tune “Irish” Op.15 No.1 Basil Harwood (1859-1949)
“O God unseen yet ever near” or more famously “The Lord will come and not be slow” is the hymn set to this tune. In 1959 John and his father attended a great centenary service in Westminster Abbey to mark the achievements of Basil Harwood. Sadly there are no plans for such a service at the Abbey this year!
Verset on the “Adoro Te” Leon Boellmann (1862-1897)
This voluntary on the plainchant melody “Thee we adore O hidden saviour” has been described as the most beautiful organ voluntary ever written. Boellmann trained in Paris and became organist of St. Vincent de Paul. His Suite Gothique is justly famous.
A selection of pieces from the Mayhew book “Expressions” Father Andrew Moore (b.1954)
Cantabile
Adagio dolente
Plaint
Berceuse
Prelude on “Eventide” (“Abide with me”)
John discovered this book on the Nicholson organ of Belmont Abbey, Hereford and asked one of the monks about the composer. On being told he was parish priest at Little Malvern where Elgar is buried he set off straight away with Liz to find the church. The grave was surrounded by a vegetable patch and chickens! A very well-spoken and rather formal priest answered the presbytery door but on being told that his music had been discovered invited us into a lovely room with grand piano, paintings of Provence and stunning view over the Malvern valley! Music was quickly produced and played!
Vesper Voluntary No. 5 in D minor Sir Edward Elgar (1857-1934)
If time permits John would like to include some music by his favourite composer. It is often forgotten that Elgar played the organ at the Catholic church in Hereford and would go straight from Mass to hear the voluntary in the Cathedral. Even in his early works for organ one can see the master at work. Like him John serves at Westminster cathedral on Saturday nights and other occasions and plays in the Anglican church on Sundays having the best of both worlds!
Master Blacket’s Bishopthorpe suite Herbert Woodhouse (1920-2006)
To mark the restoration in 1994 of the 1884 Forster and Andrews (Hull) organ in St John’s church, Bishopthorpe, Glebe, Sydney John’s father composed this suite. Edmund Blacket who designed St John’s church was an organist of note and he married Sarah Pease in Wakefield, Yorkshire on May 27. 1842.
Springtime in Bishopthorpe features a flute solo
Minuet for Mistress Sarah is based on the hymn tune “Bishopthorpe” (“Immortal love for ever full”)
Edmund’s Postlude starts with a fanfare which leads into a rousing tune in B major.
Herbert Woodhouse FTCL was city organist of Hobart and played the organ for 61 years. When he had a stroke and could no longer play he sent 500 pieces of organ music to John – rather like Elijah’s mantle landing on Elisha! The Postlude was played at the end of the funeral of Herbert and Olive Woodhouse in Christ Church St Laurence Sydney and John has played it on the organ at Glebe where his Dad played for several years.
This is the longest I ever played at one stretch and I really enjoyed the Harrison and Harrison organ. I followed Martin How which is an honour in itself and Fred Irvine came after me. Andrew Cantrill and Andrew Scott were most appreciative! Andrew Scott had been staying with Peter Jewkes in Sydney and knows Christ church St Laurence! He did not know the Northumbrian folk song! It was in aid of £8000 for new choir robes and people played from sunset to sunrise! Liz came to listen. It was a tiring day as I had worked all day and then taken choir practice. Liz was up late waiting to hear from Claire was had said she was arriving at Stansted at midnight and that flight was delayed. She got her paged twice but as there was no reply I correctly guessed Claire was still in Italy and in fact she is due in Sunday morning!
Friday 10th July 2009 9.30 p.m. to 10.30 p.m.
played by John Woodhouse ACertCM FGMS
Director of music St Andrew Coulsdon and President of Bromley and Croydon Organists Association
Prelude on “Aurelia” Father Andrew Moore (b.1954)
This prelude on the tune for “The church’s one foundation” was composed to mark John’s 50th birthday in 1996 and published by Mayhews in the book Consecration. The tune is in the right hand with a gentle accompaniment in the left hand. John has had many years of ecumenical involvement and so the hymn is an appropriate choice. Father Andrew is now a parish priest in Portsmouth.
Suite from “The Water Music” George Frederick Handel (1685-1759)
Introduction, Minuet, Air, Siciliana, Hornpipe, Aria, Bourree, Finale
What more suitable choice for a quiet evening than the well-loved music of Handel whose anniversary we mark this year?
2 Songs without words Felix Mendelssohn (1809-1847) arranged by John E.West
No. 6 Venetian Gondola song No. 9 in E major
These pieces for piano work well on the organ and like so much of Mendelssohn’s music are beautifully crafted and gentle on the ear. John much enjoyed visiting Mendelssohn’s home in Leipzig and seeing the memorial window in St Thomas’s church, Leipzig. He finds these Songs without words ideal music when he has had a tiring and stressful day in the library!
Triptych of the Holy Trinity John Harper (b.1947)
I look for the Lord my soul doth wait for Him (Psalm 130)
This work has 3 contrasting sections suggesting Father, Son and Holy Spirit. Section A uses diapason tone, section B flute and section C a chorus including a gentle reed. There are hints of the plainsong melodies Veni redemptor gentium for Christmas Eve and Beata nobis gaudia at Pentecost. John Harper was formerly Director General of the Royal School of Church Music.
Fantasy-Variations on a Northumbrian folk-song Arthur Milner (1894-1972)
These variations were composed in 1954. The plaintive air appears in the right hand and then in the left hand moving through modulation into the major to be followed by a pastoral episode on the flute. A solemn Adagio gives way to a joyful allegretto on a solo flute. The Vivace scherzando on 8 and 4 foot flutes suggests the sea. Quasi recitative gives way to a fugal passage gradually building and then receding so that the original melody can return and resolve into the major. This piece is played in tribute to that distinguished Northumbrian organ builder Andrew Scott.
Berceuse (sur les paroles classiques) Louis Vierne (1870-1937)
Vierne’s beautiful Berceuse is another restful piece. Vierne was blind and died on the organ stool.
Communion on the hymn tune “Irish” Op.15 No.1 Basil Harwood (1859-1949)
“O God unseen yet ever near” or more famously “The Lord will come and not be slow” is the hymn set to this tune. In 1959 John and his father attended a great centenary service in Westminster Abbey to mark the achievements of Basil Harwood. Sadly there are no plans for such a service at the Abbey this year!
Verset on the “Adoro Te” Leon Boellmann (1862-1897)
This voluntary on the plainchant melody “Thee we adore O hidden saviour” has been described as the most beautiful organ voluntary ever written. Boellmann trained in Paris and became organist of St. Vincent de Paul. His Suite Gothique is justly famous.
A selection of pieces from the Mayhew book “Expressions” Father Andrew Moore (b.1954)
Cantabile
Adagio dolente
Plaint
Berceuse
Prelude on “Eventide” (“Abide with me”)
John discovered this book on the Nicholson organ of Belmont Abbey, Hereford and asked one of the monks about the composer. On being told he was parish priest at Little Malvern where Elgar is buried he set off straight away with Liz to find the church. The grave was surrounded by a vegetable patch and chickens! A very well-spoken and rather formal priest answered the presbytery door but on being told that his music had been discovered invited us into a lovely room with grand piano, paintings of Provence and stunning view over the Malvern valley! Music was quickly produced and played!
Vesper Voluntary No. 5 in D minor Sir Edward Elgar (1857-1934)
If time permits John would like to include some music by his favourite composer. It is often forgotten that Elgar played the organ at the Catholic church in Hereford and would go straight from Mass to hear the voluntary in the Cathedral. Even in his early works for organ one can see the master at work. Like him John serves at Westminster cathedral on Saturday nights and other occasions and plays in the Anglican church on Sundays having the best of both worlds!
Master Blacket’s Bishopthorpe suite Herbert Woodhouse (1920-2006)
To mark the restoration in 1994 of the 1884 Forster and Andrews (Hull) organ in St John’s church, Bishopthorpe, Glebe, Sydney John’s father composed this suite. Edmund Blacket who designed St John’s church was an organist of note and he married Sarah Pease in Wakefield, Yorkshire on May 27. 1842.
Springtime in Bishopthorpe features a flute solo
Minuet for Mistress Sarah is based on the hymn tune “Bishopthorpe” (“Immortal love for ever full”)
Edmund’s Postlude starts with a fanfare which leads into a rousing tune in B major.
Herbert Woodhouse FTCL was city organist of Hobart and played the organ for 61 years. When he had a stroke and could no longer play he sent 500 pieces of organ music to John – rather like Elijah’s mantle landing on Elisha! The Postlude was played at the end of the funeral of Herbert and Olive Woodhouse in Christ Church St Laurence Sydney and John has played it on the organ at Glebe where his Dad played for several years.
This is the longest I ever played at one stretch and I really enjoyed the Harrison and Harrison organ. I followed Martin How which is an honour in itself and Fred Irvine came after me. Andrew Cantrill and Andrew Scott were most appreciative! Andrew Scott had been staying with Peter Jewkes in Sydney and knows Christ church St Laurence! He did not know the Northumbrian folk song! It was in aid of £8000 for new choir robes and people played from sunset to sunrise! Liz came to listen. It was a tiring day as I had worked all day and then taken choir practice. Liz was up late waiting to hear from Claire was had said she was arriving at Stansted at midnight and that flight was delayed. She got her paged twice but as there was no reply I correctly guessed Claire was still in Italy and in fact she is due in Sunday morning!
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